Gig Review: Self Esteem at The Utilita Arena, Sheffield

There's something profoundly special about a homecoming show, and Rebecca Lucy Taylor's return to Sheffield on her A Complicated Woman tour was nothing short of spectacular. The Rotherham-born artist, performing as Self Esteem, brought her biggest production yet to the Utilita Arena, delivering an evening that felt equal parts celebration, catharsis, and communion.

The evening’s tone was expertly set by support acts Moonchild Sanelly and Nadine Shah. South African sensation Moonchild brought her infectious energy to the arena, with tracks like the Beyoncé-featured My Power and the groove-heavy Demon warming up the crowd.

Following her, Whitburn’s Nadine Shah delivered a compelling set drawing from her acclaimed album Filthy Underneath, with the haunting Topless Mother and the beautiful See My Girl showcasing her distinctive gothic art-pop style.

Just after 9pm, Taylor walked onto the stage to rapturous applause that spoke volumes about what she means to this Yorkshire crowd. Opening with I Do And I Don't Care, she immediately established the theatrical, choreographed nature of what was to follow.

This wasn’t simply a gig – it was a carefully constructed performance piece, with Taylor’s ensemble of dancers and singers integral to the experience rather than mere backing.

The setlist expertly wove together material from A Complicated Woman and her Mercury Prize-nominated Prioritise Pleasure, creating a narrative arc that showcased Taylor’s evolution as an artist.

Early highlights included the defiant Mother and a powerful rendition of Lies featuring Nadine Shah, before the playfully provocative 69 and the tender, You Forever, demonstrated her remarkable range.

Before F***ing Wizardry, Taylor took a moment to introduce each member of her band individually – a gesture that spoke to the collaborative spirit at the heart of her work. When the song kicked in, the crowd erupted into a mass singalong, every word bellowed back enthusiastically. It was one of several moments throughout the evening where the connection between artist and audience felt almost tangible.

Taylor's self-deprecating humour shone through when she picked up an acoustic guitar for The Curse. “Time for some proper music, you know what I mean?” she joked, before delivering a stripped-back performance that highlighted her songwriting prowess. The gospel influenced What Now showcased her haunting vocal abilities, while the upbeat The 345 kept the energy high.

“All right, let’s have a dance!” Taylor announced before launching into Cheers To Me, and the arena obliged. Confetti cannons punctuated the song’s climax, transforming the venue into a giant celebration. It was a moment of pure, unabashed joy-something Taylor has become masterful at creating even when exploring difficult subject matter.

Throughout the performance, Taylor’s appreciation for the hometown crowd was evident. “Thank you so much for your support, Sheffield, I truly am grateful,” she declared, her voice thick with emotion. There were little giggles at the end of some songs, moments where she seemed to be taking it all in, savouring the magnitude of playing an arena in her own backyard.

The main set continued with the poignant If Not Now, It’s Soon, and closed with The Deep Blue Okay, accompanied by another cascade of confetti. But the night wasn’t over yet.

The encore brought, I Do This All the Time – the breakthrough single that propelled Taylor to mainstream recognition – before the triumphant Focus Is Power provided a fitting finale, complete with more confetti filling the arena.

The real masterstroke came with the exit. As Shirley Bassey’s This Is My Life blared through the speakers, Taylor and her entire troupe formed a conga line, dancing their way off stage in a moment that perfectly encapsulated the show’s spirit: serious without being solemn and gloriously life-affirming and the crowd formed one of their own, too – a truly spectacular sight and typifies the Self Esteem community.

Self Esteem has become a bona fide star, and this Sheffield show proved she’s more than capable of gracing arena stages. Yet there remains something wonderfully intimate about her performances, a sense that she’s sharing secrets rather than simply entertaining.

For seventy-odd minutes, she created a space where vulnerability and strength could coexist, where dancing and crying felt equally appropriate, where thousands of strangers became a community.